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Critiques Of The "Novela Rosa": Martín Gaite, Almodóvar, And Etxebarría, Debra J. Ochoa

Debra Ochoa

At the end of the twentieth century, film director Pedro Almodovar (b. 1949), in La flor de mi secreto (1995), and writer Lucia Etxebarria (b. 1966), in Beatriz y los cuerpos celestes, una novela rosa (1998), continue to analyze the novela rosa, a project begun by Carmen Martin Gaite in El cuarto de atrds (1978) and Usos amorosos de la postguerra (1987). Martin Gaite argues that women of her generation were victims of the Francoist ideology found in popular romance novels. Like many others, including Franco's own daughter Carmen, she received a limited education that did not allow women …

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Edgar Allan Poe: The Tell-Tale Hero, Michael David Bonifonte

Scott T. Allison

This chapter seeks to explore Edgar Allan Poe’s heroism, incorporating many of the ideas from recent heroism science to prove beyond a shadow of a doubt that he was not just a gifted yet impoverished writer, he was a bona fide Richmond hero.

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“Grisly Man, Gods, And Monsters,”, Kirby Farrell

kirby farrell

“Grisly Man, Gods, and Monsters” by Kirby Farrell,

Werner Herzog’s documentary Grizzly Man (2005) examines the fatal infatuation of Timothy William Dexter (Treadwell) with Alaskan grizzly bears.

A failed actor and recovering addict, Dexter reinvented himself as

Timothy Treadwell, the “grizzly man,” using the camera and his charismatic

personality to promote a vision of the lone hero taming a savage but

mysteriously – even religiously - “perfect” nature. In 2004 a grizzly mauled

and ate the increasingly reckless Treadwell and his girlfriend Amie Hugenaard.

Treadwell’s self-exposure to the bears acted out sacrificial and suicidal

themes and can be understood in …

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Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies

Brian Yecies

This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cinematic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French pantomime clown Pierrot, Song’s …

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Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies

Brian Yecies

This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cinematic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French pantomime clown Pierrot, Song’s …

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Full-Text Articles in Arts and Humanities

Critiques Of The "Novela Rosa": Martín Gaite, Almodóvar, And Etxebarría, Debra J. Ochoa

Debra Ochoa

Edgar Allan Poe: The Tell-Tale Hero, Michael David Bonifonte

Scott T. Allison

“Grisly Man, Gods, And Monsters,”, Kirby Farrell

kirby farrell

Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies

Brian Yecies

Somewhere Between Anti-Heroism And Pantomime: Song Kang-Ho And The Uncanny Face Of The Korean Cinema, Brian Yecies

Brian Yecies